驰骋在革命美术与诗歌之间——新四军文艺战士芦芒的跨界创作  

Marching between Revolutionary Art and Poetry:the Cross-Disciplinary Creation of the N4A Soldier Lu Mang

作　　者：孙晓东[1] SUN Xiaodong(School of Chinese Language and Literature,Yancheng Teachers University,Yancheng Jiangsu 224002,China)

机构地区：[1]盐城师范学院文学院,江苏盐城224002

出　　处：《常熟理工学院学报》2024年第3期74-79,共6页Journal of Changshu Institute of Technology

基　　金：江苏省盐城市哲学社会科学界联合会课题“盐城革命文艺史研究”(23skC114)。

摘　　要：芦芒是新四军中为数不多的进行跨界创作的革命文艺工作者。他穿行于美术与诗歌领域,用手中的刻刀和笔创作出了大量的木刻版画和诗歌作品,配合和服务当时的宣传文化工作。在革命战争年代,他通过创作中审美主体的互换,实现了诗歌与美术彼此互为动能及在审美与主题意识等方面的交互借鉴,使战地文艺实践其文艺普及任务时具有巨大的优势。它们的主题内容,甚至革命化、大众化的艺术形式也因此与20世纪30年代木刻艺术运动以及其后延安时期开始的文艺工具论有着内在相关性。Lu Mang is one of the few revolutionary artists engaged in cross-disciplinary creation in the New Fourth Army.Deft at both art and poetry,he championed the revolution with a large number of wood cuts and poems servicing the war moral of the time.Through the shifting of subjects of asethetic appreciation,he not only achieved the dynamic exchange between poetry and the fine arts,but also the mutual reference of aesthetics and theme consciousness,lending,therewith,an advantage to wartime literature and art together with their popularization.The very themes,and even the very revolutionary and popular art forms are intrinsically related to the wood cut boom and the understanding of art as a tool in Yan'an in the 1930s.

关 键 词：芦芒 文学革命 美术革命 战地文艺 

分 类 号：I23[文学—中国文学]